Michael Palmer
Forum Replies Created
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It would depend on the project for me, If fast cars needed to be shot for slow-motion then I would recommend 720 50p, and I may want to mix this with 720 25p for interviews or dialogue. If it were news you may consider the interlace options. I love 25p.
Good Luck
Michael Palmer -
I believe you have the proper setting for a film look, including the shutter angle. If you have a lot of motion in this project you may want to shoot 50p.
Good Luck
Michael Palmer -
In 25p the EX sensors snap a complete frame 25 times a second, in 50i the sensors snap 50 fields (upper then lower) per second. This is a normal video look, much smoother than progressive. I prefer the progressive look, more filmic, you need to choose what works for you and the project.
Good Luck
Michael Palmer -
John,
after re-reading your response to my original post can you tell me what you meant by duplicated fields,
“but you can also select 29.97P (progressive) that gives you duplicate fields in each frame”.
Odd and even fields are never duplicate as they have separate information that makes up a single frame.I described this as “If you shoot progressive (30p) you will have one solid image that most likely will be played back interlaced, but the upper and lower fields are from one moment in time”.
My 29:97 experience has come from working with Sony DV then HDV and it all was interlaced. Even the 24p from my V1U ended up on tape as interlaced with 3:2 pulldown, however it still retained the 24p look. I only know 29:97 as interlaced, until now.
I almost answered this question, “A client has asked me to shoot 1080i at 29.97 on my EX3. Will 1080/60i at 59.94 be basically the same thing? “, with YES
Michael
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Thanks John,
I definitely know how the sensors work, it is the playback where it gets sticky.
Where I have gone wrong is the 720p=59:94 and PsF.
I would hope there aren’t to many networks asking for interlaced video anymore.
I’m sorry if I confused the OP
Michael
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I believe 29:97 refers to interlaced video, 59:94 should be progressive. If you shoot interlace (60i) you are recording 60 fields all at slightly different times. If you shoot progressive (30p) you will have one solid image that most likely will be played back interlaced, but the upper and lower fields are from one moment in time.
Good Luck
Michael Palmer -
“how can i get a good image with out it being too dark and grainy?”
You will need sufficient lighting for the FX1, hire a good DP, try using LED lights
https://www.flolight.com/find a rental house in your area and beg them for help.
Try not to add more than +3 gain.
Or use the PMW-EX1,EX3, these cameras are great in low light and offer 24p.
Good Luck
Michael Palmer -
The Z1U is an interlace only sensor and Sony tried something that was not true 24p.
Their next camera V1U is a true progressive sensor (3-1/4 cmos) used in there HDV lineup, Sony’s HDV spec at that time was 1080 60i to tape, and they featured 24p with 3:2 pulldown added so it would play properly with any of there existing (tape based) HDV equipment. At this point in time Sony’s 24p was exactly like Panasonic.
To answer your question the EX is part of Sony’s Cine Alta series and it creates the same 24p as the big boys.
Good Luck
Michael Palmer -
I didn’t realize it was up. There is a good screen grab comparison in this article.
Good Luck
Michael Palmer -
Hey Guys,
I have a new article coming out this week on the Cow “Nano takes EX3 to New Level”, that includes screen grabs of 100Mbps files and the native EX codec files and you will see a significant improvement.Good Luck
Michael Palmer